The forbidden garden

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The forbidden garden. Fragments about D'Annunzio is a play by Tankred Dorst , which premiered on March 5, 1987 under the direction of Jaroslav Gillar in the Stadttheater St. Gallen . The German premiere took place under the direction of Hans Neuenfels on February 11, 1988 in the Berliner Volksbühne .

By the forbidden garden, Dorst means the residence Il Vittoriale degli italiani on Lake Garda , where the owner Gabriele D'Annunzio spent his last years.

D'Annunzio reads
(Photo: Mario Nunes Vais before 1932)

Fragments

Some of the fragments are sketched below if they reveal something like a plot or if a relation to D'Annunzio's biography appears to be proven.

Io ho quel che ho donato, dance of death, pool of dances

An old leg amputee drunkard hobbled into the mausoleum on two wooden crutches with a bulging briefcase - strapped across her chest - and asked for an audience with old D'Annunzio. The aesthetic is hidden from the visitor. In search of Gabri, as she calls the old man by his first name, she drags herself through the forbidden garden. Gabriele leaves his hiding place and sneaks up on her in the garden. “Gabri!” Calls the old woman again; this time with the voice of the youthful Contessa . Gabriele slips in shock, falls down a steep embankment, lies down in the stream and sees an amazing scene - the last in his life. The old woman has thrown away her crutches, is standing securely on one leg in the shallow garden pond and is scattering rose petals from her briefcase; reaches out again and again to the full. Gabriele dies at this sight.

The young Contessa Carlotta had loved her Gabriella. She had left her husband without a suitcase. It must have been one-sided love. D'Annunzio had immortalized the young woman as Stella in one of his books. Good acquaintances had easily recognized Carlotta in the figure of Stella. It happened the way it had to. The Conte Rudolf - that was Carlotta's husband - demands satisfaction from Gabri. The pistol duel takes place in that shallow garden pond. Rudolf dies. Carlotta is free. She shamelessly offers herself naked to Gabri on a dirty mattress. But the famous esthete has hidden from her. The Contessa discovers the voyeur's peephole. Gabri showered Carlotta with rose petals - just as he showered the other, a fourteen-year-old, with rose petals. In between, he slaps the face and kisses the Contessa, who is literally suffocating under rose petals.

The ship, flight hood

The Duce wants power. His mentor gives him advice on how to behave when speaking. Should the masses be tied up with choppy sentence monsters or should they be tied up with the force of speech? The fascist greeting is worked out and practiced; the battle cry “ Eia, eia alalà! “Is being rehearsed. The short Duce undauntedly overcomes his concerns about his height: “May you [the audience] laugh. One must not die a ridiculous death. ”The display of his later death is, however, terrible. Dorst writes: "The Duce has been hung up on an iron bar on the grandstand with the head down."

La Divina, art

D'Annunzio calls his companion Eleonora Duse “the divine” . The condottiere , whom D'Annunzio likes to see himself as, compels her to tour North America. She cannot keep any of his texts. Even earlier, when she appeared in his dramas in Italy, she had not reached the audience. D'Annunzio does not accept any of this. He accuses the Duse of her age - he's five years younger - and cheers the gifted actress mercilessly.

shape

Dorst lets D'Annunzio speak in several fragments. The narrator communicates his state of health in high-level language. He observes how "all things change ... One thing is immovable: my courage."

The truth of some assertions can only be guessed at. D'Annunzio longs for the young person (fragment “Signs of Life”). He immediately proves his ability to love; at least in words. A young woman only came in the morning. He made her happy. The smiling young girl in the fragment “The Empty Mirror” only smiles on the subject. Or that young man who visits D'Annunzio asks why the landlord walled up the garden so high. D'Annunzio replies that “they” want to keep him out of the world. His doppelganger, Laude, who is several years younger, always steps in front of the gate and pretends to be youthful.

Much of the biography is brought up a few times, but remains documentary in character. For example, the story from the First World War is repeatedly told in which D'Annunzio ascends in a double-decker and drops political slogans written in German over enemy Vienna .

reception

  • In the afterword, Hensel calls the fragments mythizing . With D'Annunzio, Dorst takes up a fashion theme from the 1980s - the artist's self-portrayal. For the aesthetes - according to Nietzsche - life is nothing and art is everything.

literature

expenditure

Secondary literature

Web links

Remarks

  1. ↑ Bekes shows on p. 67 a photo with Tankred Dorst in the forbidden garden. In the caption there is a small reference to the creation of the piece. The photo on p. 70 shows a stage set by Erich Wonders from the above-mentioned Berlin production in 1988 (photographer: Gerhard Kassner).
  2. ↑ for example: "I own what I have given."
  3. ↑ Anachronism : D'Annunzio acts in the fragment "Fliegerhaube" (Edition used, p. 139), although he died seven years before the Duce.

Individual evidence

  1. ^ Günther Erken bei Arnold, p. 87, left column, above and the edition used, p. 445, first entry
  2. ↑ Inscription Vittoriale ( Memento of the original from June 19, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.claudiarocchini.it
  3. ↑ Edition used, p. 136 middle
  4. ↑ Ital. Alalà
  5. ↑ Edition used, p. 110, 5th Zvu
  6. ↑ Edition used, p. 139, 9. Zvo
  7. ↑ Edition used, p. 157, 12. Zvo
  8. ↑ Edition used, p. 131, 3rd Zvu
  9. ↑ Edition used, p. 153 middle
  10. ↑ Edition used, pp. 121–123
  11. ↑ Hensel in the afterword of the edition used, p. 436, 3rd Zvu to p. 437, 9th Zvo
  12. ↑ see also Eisenhans (film)